Search results for "Miami Beach"

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Arquitectonica gets real wavy with new seaside tower in Florida
Arquitectonica tests the surf with ocean-influenced Regalia, a newly unveiled 488-foot-tall luxury condo in Sunny Isles, a city northeast of Miami. But the Florida skyscraper is leaving us with a distinct sense of déjà vu. The tower looks strikingly similar to Studio Gang's Aqua in Chicago. While Gang's undulating concrete balconies extend as far as 12 feet to maximize views in the skyscraper-dense downtown, Arquitectonica's balconies in the same style afford uninterrupted views of the Atlantic on the building's sea-side. Gang's curving terraces were based on striated limestone outcroppings in the Great Lakes region, while Arquitectonica's are modeled on ocean waves. Although Chicago's lake-affected weather presumably hinders Aqua residents from enjoying their outdoor spaces year-round, Regalia's residents will have unfettered access to their sunny terraces all the time, if the barrier island the building is situated on doesn't flood or sink in the meantime. Regalia's 39 floor-through units and two penthouses are spread over 46 stories. "A rectangular glass prism houses the functional requirements," explained Bernardo Fort-Brescia, founding partner of Arquitectonica, in a statement to designboom. "Its transparent surfaces connect inside and outside, linking the occupants with the surrounding environment. Its orthogonal geometry creates elegant, serene, classical, zen-like spaces. Each floor is wrapped by a sensuously undulating terrace. The resulting walk-around veranda protects the glass surfaces from the sun, as in traditional Florida homes. It is this veranda that shapes the architecture." This is not the first curvy tower the Miami–based firm has designed for the Sunshine State. Last year, their 42-story residential tower, also inspired by (far choppier, it seems) ocean waves, opened on Miami's Biscayne Bay.
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Jean Nouvel’s vegetated Miami tower touted for its man-made lagoon
West Avenue in Miami Beach is set for a Jean Nouvel high rise surrounded by an elaborate man-made lagoon.  The tower will be covered with suspended vegetation that, at least in renderings, casts the structure in a distinctly green hue. This is Nouvel's second attempt at building in the city after his Grove Heights project lost a competition in 2013. "Monad Terrace" as the 14-story tower is known, is set to top out at 149 feet, just a hair below the city's height limit of 150 feet. Developers JDS also recruited Kobi Karp Architecture and Interior Design to work on the scheme which boasts a glass facade encircled by water and a green wall, covered in foliage on one side. Inside, the structure will hold approximately 80 residential units that will offer two–five bedroom layouts, each with views out three or four sides of the building. Topping the structure are two penthouses, each with its own private pool. To maintain privacy, reflective screens—that allow views out but obscure view in—sit in front windows, creating a staggered facade. The lagoon, however, is the complex's showpiece. Occupants can stroll up to seating in the middle and edges of the lagoon or take a dip in the swimming pool along the bay where a waterfall is planned. According to managing partner at JDS Development Group, Michael Stern, the pool will be visible from the bay. It's not all good news though. Elaborate water features may be easy on the eye, but rising sea levels are a very real threat to those along the coast on Miami's South Beach. The issue surfaced late last year when The New Yorker published findings that said the idyllic retreats of the area could be underwater in under 50 years. Nouvel's design however, looks to be high and dry. "Our design is very conscious of what is going on to changes to the streets and concerns about sea level rise," said Stern speaking to Curbed Miami. Monad Terrace will be the first building in the West Avenue vicinity to encompass the higher street level requirements. Nouvel has been inclusive of the potential disastrous surroundings in his design. Landscaping dotted around the building can absorb water, meanwhile below street-level garages can act as water-tight "bathtubs." Speaking on the matter, Stern commented that "the landscape is designed that if any salt water intruded it is tough enough to live through that event."
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James Corner Field Operations will design the National Building Museum’s summer 2016 installation
Following in the stead of Snarkitecture and Bjarke Ingels, New York's James Corner Field Operations will create the National Building Museum's summer 2016 installation. The landscape architecture firm is best known for its outdoor projects such as the High Line, Santa Monica’s Tongva Park and Ken Genser Square, Race Street Pier in Philadelphia, and Seattle’s Central Waterfront. Field Operations will likely bring a fresh perspective inside the building's four-story Grand Hall. The National Building Museum opened in 1985 in the Pension Bureau building, originally built in 1887 and designed by Montgomery C. Meigs, the U.S. Army quartermaster general during the Civil War. Notably, the Italian Renaissance–style building features 75-foot-tall Corinthian columns in the Grand Hall and a 28-panel frieze by American sculptor Caspar Buberl.   A design will be revealed in the spring and the exhibition will run in tandem with the museum's summer block party series. “We are very excited about this opportunity to once again transform the Great Hall for summer spectacle and pleasure,” said James Corner, founder of James Corner Field Operations, in a press release. “It will be a great challenge to surpass the genius of previous installations, but also an opportunity to explore something new and unexpected.” Snarkitecture opted for a giant, monochromatic ball pit (Click to see AN's report on this installation) in 2015 and the year before, Bjarke Ingels took advantage of the hall's height to craft a giant maze (Read more about the maze here). Stay tuned to learn what Field Operations creates for the space. To learn more about Field Operations and its projects, check out the Miami Underline and Great Falls State Park.
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Designer envisions a Miami Beach that embraces the rising sea
This year's Art Basel/Design Miami was a wash. The tallest stilettos could not save feet from floodwaters that inundated streets and forced partygoers under small tents. Even when it's not raining, water bubbles up through stormwater grates and sewers, a result of the city's porous limestone bedrock. Miami Beach is a barrier island that is routinely battered by hurricanes and floods. With global warming, the bad floods will only get worse. The U.S. Army Corps of Engineers, NASA, and NOAA predict sea level rise between eight inches and six feet by 2100. For these reasons, Harvard GSD's newly established Design Office for Urbanization selected Miami Beach as its first focus site. Though unaffiliated with Harvard, a recent Florida architecture grad would make a great contribution to the program. Designer Isaac Stein, at West 8's New York office, envisions a solution for incorporating rising seas into Miami Beach's urban design, Vanity Fair reports. While completing an undergraduate degree in architecture at the University of Miami, Stein drafted a plan for a mangrove forest, raised buildings, canals, and other design interventions that will bend to, not fight, the rising seas. The plan focuses on South Beach proper, from 5th to 15th Streets. One of Miami Beach's main thoroughfares, Alton Road, would be raised on stilts to accomodate floodwater. Trams would replace cars, and bike lanes would be installed along Washington Avenue, roughly parallel to and a few blocks inland from the Atlantic. Historically, Miami Beach's western (bay) side was lined with mangroves. Stein's plan restores the mangrove forest to provide a natural buffer against rising water. Canals would be cut in the medians Michigan, Jefferson, and Lenox Avenues. The resulting fill could be used to raise buildings and roads 1.5 feet above grade, would safeguard the city against six feet of sea level rise.
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Live: Postmodern Procedures at Princeton
Postmodern Procedures is a two-day conference at Princeton School of Architecture that offers an alternate history of Postmodernism. The goal is to find something that is less about signs and symbols or historic references, and more about longer-form processes that produced the visual syntax of some of the most interesting projects in architectural history. Follow along as AN will be posting updates all day on Saturday, December 5. 9:25 James Wines gets day 2 started off with a series of stories about 1970's New York and a group of architects and artists who lived near each other on Greene St. in Soho, many of which worked in between architecture and art. He calls this Arch-Art, drawing upon the interdisciplinary contributions made by his firm SITE, as well as artists like Beuys and Henry Moore. There was a comment about rejecting "Plop Art" or "The Turd in the Plaza," favoring a process, such as in his Ghost Parking Lot, a public art project where SITE paved over a parking lot full of cars. Wines calls big box stores the ultimate found object that everyone recognizes. Wines used the BEST Stores to put art where you would least expect it. "It was a transformation," he said, explaining that the stores were a process of making the usual shopping center into something new and fantastic, through process. As for the Indeterminate Facade, the first BEST store, "There was alot of 'not getting it," he said, "Saying that this store was about destruction was like saying that a Giocometti sculpture was about starving people." "Not getting it" became his theme as he showed how many of his ideas became Pomo tropes, such as "tilting" and "falling apart." Some other highlights of his career were shown, including the process behind Shake Shack and the bookstore at MAK Vienna, both of which pushed the limits of building codes, legal contingencies, and historic landmark rules. 10:15 Amale Andraos of WORKac is giving a presentation of their work, with clear echoes of many of the issues that Wines introduced. Slicing, peeling, and the relationship of interior and exterior become organizing principles. "Collage Garage" is a facade for a parking structure in Miami. A four-foot wide ant farm for people includes circulation functions as well as environmental features like ventilation and water collection. The thickness produces a new way of inhabiting a facade, through a process of pushing the limits of the thin slice of space. 10:31 Mark Lee of Johnston Marklee remarks that he saw Wines speak at Sci-Arc 25 years ago when he was young and impressionable. "Seeing him speak again today made me feel young and impressionable," Lee said. Collage and layering are just a couple of the processes that Lee sees as valuable takeaways from Wines' work. Lee showing examples from photography and film to illustrate his concept of "loose fit," including John Baldessari's experiments with throwing balls in the air to approximate geometries. Their Vault House is a beach house that uses this concept to arrange a series of vault-like sections into a long passage of ill-fitting vaults. this process creates a long series of overlapping forms in a complex whole. 10:44 Panel starting off with Lavin asking Wines about living in Soho in the early days with artists like Bob Smithson and Alice Aycock. There were complex relationships between art and architecture, and the lines were not always clear. Wines speaks of it in a very pragmatic way, saying that on Greene St., artists were simply trying to see what they could get away with. Andraos makes the connection that this is probably how SITE shifted the boundaries of what could be considered architecture. "If it looks normal, you have something that is really avant-garde," said Wines. 11:48 And we're back with Diana Agrest, architect and urbanist. She is tracing the procedures that lead to retention and transference of ideas, both in her own work, and in the academic world, especially at the Institute for Architecture and Urban Studies, where a group of non-commercial young architects were trying to find themselves and figure out how to engage with the city and their own practices. 12:27 Erin Besler takes the podium to discuss her intellectual project that deals with problems of construction and participation, a term that she is suspicous of. In her practice, Besler and Sons, she and her husband Ian Besler work with the conventional tools and resources of the everyday architect. At the Chicago Architecture Biennial, they looked at BIM as an open platform of participation that the public can engage with by sketching a wall that is produced by software in 3D. is a kinkily-named platform that displays the creations of Biennial-visitors. Parallel to the open BIM project, a physical constructed light steel-framed wall system interrogates the space within the pedantic construction we might find in a big box store. Each step of the process is reflected upon. The unusual construction produced a set of operational follies along the way, The end project is a hand-scale sight gag—a set of off-kilter details that act visually much like Wine's Best Stores, but at a small scale. Lavin asks, "Who and What is communicating?" She says that in the original Postmodernism, there was architecture communicating with broader audiences, while today, it seems like the work is attempting to communicate with a smaller cadre of people. Agrest says that the work of Venturi and Scott Brown among others was looking for more direct communication, while Besler and Sons' project is communicating both inside and outside and outside of the profession. 2:09 Andrew Holmes explaining how he made a drawing of The Pompidou Center in 1972 while at Piano Rogers Architects. The competition-winning, 36-foot long drawing was made entirely by hand with multiple mediums. Rapidographs, blueprint machines, and a host of other now-arcane drawing techniques came together for the intensive representation. This live blogger is fascinated, but utterly lost in the process of this drawing. Is that ok? Ok, now talking about the relationship of line weights and the finished project. A .8 Rapidograph produces a thicker piece of metal, for instance, while a thinner one is nearly invisible in the final table. During high school, Jimenez Lai got a co-op placement at an animation studio. This was nearly 20 years ago. This is where he developed his relationship to ink, which is the topic of the pairing of Lai and Holmes. This is a thinkpiece about ink. From more recent copies of Noguchi and Tschumi, to living in a gallery in London, Lai is always pushing the boundaries of drawing in social contexts. There are not only physical boundaries in the galleries, but also limits on the audiences and spectators that might enter the space. I remember that London project in 2012 where Lai asked the gallery to buy him a robe. I was there, man. "Yes, I do do sloppy work," he said, referencing Norman Kelley (NK) and Speedism. On one end of the spectrum is NK's immaculate craft of incorrect compositions, while Speedism's fast and dirty accelerationist collages thrive on sloppiness as a political stance within internet culture. Holmes is promiscuous and boring to watch draw, while Lai is "very committal," and more fun to watch draw, as his practice of spectacular public drawing. Holmes says that his drawings are love objects for him, that have supported him throughout his life. 3:10 Wondering what it means to liveblog an event if no one is watching. Will people read it later? Is it still a live blog? Wonder what James Wines is thinking right now. 3:45 Chad Floyd up next. He is going to mix it up with some urbanism. Talking about the components of making a design process work for multiple parties. Floyd worked with Charles Moore to facilitate public TV programming that included a general population in the design process. They even built a storefront office that gave them a presence in Dayton for meetings. As ideas would come in, they would write down ideas on large papers on the wall. They also had a TV Show that broadcast the plans, while accepting calls from the public. Concepts, zoning plans and models were on TV throughout the communities where they were developed. Roanoke Design 79, Riverdesign Springfield, and were the most robust program. "This is not avant-garde architecture. It is bringing back a city that has been down, and doing it in a real way that people appreciate," Floyd said. This is one of the babies that was thrown out with the bathwater of Postmodernism. The engaged process of including local agencies and publics is a lost art. There are examples of firms doing it today, most notably FAT and the AOC in London. 4:16 Andrew Kovacs takes the stage to talk about making architecture from architecture. First, there is a two-part process, which I will reductively describe as collecting and editing. An analysis of Jencks's charts led into Kovacs's own analysis of internet searches and file management. The searching an browsing is compared to persistence hunting, a technique of outlasting your opponent. It leads him to libraries and trashcans and dollar stores. By scanning books and objects in the same scanner, it levels them all out, and allows the Photoshop arrangements to become the narratives (or lack thereof) that animate the work. Appropriating objects becomes a way of animating space. Although it is very Postmodern, "the dogs don't know the difference." Michael Meredith sits facing the screen to scroll through his website. "This is a little wierd for me too." The talk is called "Indifference as a Posture." The talk scrolled slowly through the website while describing the connections he sees through Pop and minimalism that make his practice. 4:58 Final discussion has Denise Scott Brown talking about participation and her experiments with including inner city people in the process.
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On View> Robert Motherwell, Pierre Chareau and the Quonset House of 1947
Mthrwl - Namuth copy 2 One of the great joys of art and art and architecture fairs is the energy they create for specialized focused architecture exhibitions at alternative sites away from the main venues. This is true for all Venice Art and Architecture Biennales and the Salone del Mobile in Milan, Italy. This week's Art Basel/Design Miami, perhaps because it is still a relatively young event and focused on art and design and not architecture, is short on these sorts of serious ancillary events. But there is one small yet highly focused and detailed exhibit that stands out this week. ____Oak Floor - Mthrwll H., by AG copy 2 Curated by Alastair Gordon (along with a class of students he taught this semester at FIU), the exhibit Accidental Architect: Robert Motherwell, Pierre Chareau and the Quonset House of 1947 details the house that Chareau designed for the New York painter in East Hampton when the Hamptons were still affordable for artists. Gordon obsessively photographed the house a week before it was destroyed in 1985. Quonset huts, of course, have a great legacy in America during war time, but this was not an ordinary metal unit but one tweaked and detailed by the master French architect. The exhibit has some of Gordon's beautiful detailed photographs of the structure that shows the outer limits of what can be accomplished with mass produced technology. We owe Gordon a debt not just for his obsessively detailed images, but the intelligence with which he put this show together. Gordon tied it to Motherwell’s artistic conversation with the house and his Mexican-born wife, Maria Ferreira y Moyers, who was making her own experiments in art and prose and became, in effect, a "third collaborator" on the design of the house. Barney Rosset, publisher of Grove Press, bought the property in 1952 and added incongruous cedar shingles and Spanish tiles. Despite many protests, the house was demolished in 1985 to make way for an "Adirondack-style" McMansion. The exhibit is in the Main Gallery of the Miami Beach Urban Studios at 420 Lincoln Road, 4th Floor. ____Motherell House, early copy 3 38333677-36de-489e-941a-6115bf6a7ba6
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Design Miami Minute> Larry Bell and Hans Ulrich Obrist together in Wynwood
miamiday2-01 One of the early highlights of Miami Art and Design Week is the spectacular Larry Bell sculpture 6X6 An Improvisation at White Cube Gallery’s pop up space in the Wynwood Art District. Last night, Bell was interviewed by uber questioner Hans Ulrich Obrist in the gallery next to the piece. Bell talked about his years learning to manufacture and laminate his art pieces on East 9th Street in New York City after Pace Gallery sold out his show before he even arrived at the gallery. He also described his early years as a painter (he started out studying graphic design) influenced by Willem De Kooning, which eventually had him make spaces of wood and glasses rather than paint them. Bell described the nearly unlimited spatial and geometric possibilities of his glass cubes. When Obrist, who always wants to be prepared for his interviews, asked Bell to consider his installations as collages, referencing Vladimir Tatlin and others. Bell did not seem to want think about his work as Obrist farmed it and blurted out, “Hans and I only met for a few minutes before this talk,” and "I don’t know what to say about the work!"
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Harvard GSD establishes Office for Urbanization to tackle social conditions through research
On November 6, Harvard's Graduate School of Design (GSD) launched the Design Office for Urbanization, a program that will draw on resources from the school's three departments to address the "social conditions associated with contemporary urbanization" through applied design research projects. Charles Waldheim, Professor of Landscape Architecture, will lead the office. Helen Kongsgaard, research associate at the GSD, explained that the office is interested in "questions on urbanization that are extreme but can be generalized into other areas." Its first project will generate design responses to rising sea levels that could affect the City of Miami Beach's culture, identity, economy, ecology, and infrastructure. For this and future programs, the office will partner with nonprofits, NGOs, community leaders, as well as Harvard's Center for Green Buildings and DesignExecutive Education, and the Joint Center for Housing Studies.
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Design with Company’s pavilion for Airbnb to activate a vacant lot at Design Miami/
The Chicago based Design With Company have been commissioned by Airbnb to design an installation for Design Miami/. Conceived as a large space of familiar building fragments, the so-called belong. here. now. will be an interactive space to be programmed throughout the week-long festival, with performances, events, and exhibitions. Occupying a lot which has never been activated by Design Miami/, across from the main venue, the design incorporates a series of columns, walls, seating areas, and thresholds that invite the public to interact with the project in undefined ways. Design With Company, a team comprising of Allison Newmeyer and Stewart Hicks, is no stranger to instigating impromptu public performance with their work. In their recent project Porch Parade in Vancouver B.C. they built a series of technicolor “front porches” as a stage set of public interaction. belong. here. now. engages with similar motifs evoking scenes of a Roman forum, held in perfect ruin just far enough to be re-imagined for new use. The soft pastel colors bring the project into Miami with a nod and a wink. Design Miami/ will be held in Miami Beach from December 2–6, 2015.
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Brillhart Architecture
Malaga Residence, Miami, Florida.
Courtesy Brillhart Architecture

In Miami, where the mantra seems to be “bigger is better,” local firm Brillhart Architecture has quietly and gracefully gone against the grain, producing work that is sensitive to its environment, thoughtful to its historic context, and creative in its use of material and composition. If there is a thread connecting each project, architect Melissa Brillhart says it’s an “immediate connection to landscape and the desire to be light on the land.”

Jacob Brillhart founded the firm in 2005, and is a full-time assistant professor at the University of Miami School of Architecture. His wife Melissa joined the practice about three years ago after working for several design studios and a real estate development firm. Together, with one other full-time employee and three interns, they run a lean and industrious practice, taking on a variety of projects, from commercial and residential commissions to design-build competitions to exhibitions and furniture design.

Much of the firm’s work is located in the Miami area, and the husband-and-wife team has cultivated an approach that is responsive to the city’s climate, landscape, and architectural legacy. Their projects often weave together different building typologies and styles, such as tropical modern designs from the 1950s and ‘60s, with the latest technology. “We rely on interpretations of vernacular principles that have embedded environmental considerations,” said Melissa.

For Brillhart, sustainability is more than just employing systems. It is about “this direct relationship to the landscape.” While designing in a coastal metropolis can pose unique challenges, Brillhart’s architecture seeks to integrate these conditions organically into their designs—facing them not as obstacles, but as the given realities from which opportunity springs.

“Whether the water is going to rise or not, the architecture, we hope, sort of senses that and is aware of climate change, but we wouldn’t say it is a direct reaction to it,” added Jacob. “In a sense we want to just be laying gently.”


Brillhart House
Miami, Florida

In designing their own home, Melissa and Jacob Brillhart looked to the dogtrot house, a popular style of the Florida Cracker vernacular, which is characterized by a breezeway through the center. While they ended up enclosing the passageway to gain more square footage, they used a dogtrot diagram as the basic configuration. Melding the American glass pavilion typology with tropical modern design, the structure is made predominantly of glass and steel. The 1,500-square-foot house, which is lifted five feet off the ground and features 100 feet of continuous glass spanning the front and the back, is in concert with the outdoors and offers views of the lush landscape and catching the southeast winds through four sets of sliding glass doors and porches. Wood shutters along the front facade provide privacy as well as a striking visual effect, casting a pattern of crisscrossing shadows at certain times of the day.


Malaga Residence
Miami, Florida

Riffing on the tropical modern vernacular, Brillhart Architecture renovated a 1948 case study house by architect Trip Russell, and designed a 2,850-square-foot addition. Located in the city’s coveted Coconut Grove, the original 1,100-square-foot house is quickly becoming an anomaly in a neighborhood where small houses are frequently being replaced by larger, flashier homes. This renovation and expansion enables the client to “extend [the house’s] life,” said Melissa, by “bringing it up to today’s building codes and then also bringing an addition that would be in keeping with the original design of the house.” Taking advantage of the surrounding flora, the firm built around a beautiful old grove tree canopy. The new two-story wing is composed of glass and steel and is designed to “complement the existing structure.” Even though the house wasn’t historically designated, the Brillharts followed some of the historic preservation guidelines so to “maintain the original character of the house.”


Baypoint Residence
Miami, Florida

Designed specially for a client who is an enthusiast of contemporary architecture, this low-slung, courtyard-style home resolves a common quandary: how to enjoy views of one’s own home while inside. Instead of gazing upon the neighbor’s home, the one-story house features a glass facade and is configured in an L-shape to allow the client to glimpse the architecture of his own residence from different rooms or vantage points. With the help of landscape architects, the house sits nestled in a tropical forest, providing additional privacy.


Drones’ Beach
Museum of Modern Art (MoMA) PS1, Long Island City, New York

MoMA PS1 selected Drones’ Beach as a finalist in its annual Young Architects Program. Instead of proposing an object in the space, the firm sought to create a multisensory experience by transforming the museum’s 11,000-square-foot courtyard into a beach-like environment. To achieve this, wooden ribs increase the height of existing concrete walls, calling to mind a vessel, while the ground is filled with white marble chips that are dyed pink to resemble sand. The extended, undulating walls are lined with photographer Richard Misrach’s photographs of swimmers in Hawaiian waters to create “a sense of being enveloped in a water womb,” explained Jacob. Additional special effects—including misting devices, associative smells (such as saltwater or a campfire), and four aluminum “nest-infested” palm trees—further enhance the immersive beach experience. Camera equipped drones fly above, landing on the nest-infested palms, capturing PS1’s Warm Up from above, and posting images to Facebook, Instagram, and other social media platforms.

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White Out

Donald Trump commissioned this rare albino Michael Graves building
Driving through Miami Beach on Florida’s A1A highway, one cannot help but notice the particular brand of American beach culture passing by—an eclectic architectural mix of decades-old spring break destinations, vintage art deco buildings, and glossy new condo developments. A one-mile stretch of Miami Beach, for example, contains 14 mid-century structures including five of Morris Lapidus’s flamboyant resorts, while the blocks between 32nd and 36th streets are home to a burgeoning $1 billion arts, cultural, and residential development involving Foster + Partners, OMA, and Philippe Starck.   If you manage to escape this commotion and continue north, you will hit Fort Lauderdale. Here—just 23 miles up the road, but in a comparatively calmer setting—is one of Michael Graves’s last built works: a nautically inspired, ocean liner-like structure known today as the Ocean Resort Residences. The project was initially developed as the Trump International Hotel & Tower Fort Lauderdale, but development halted during the 2008 financial crisis. The building fell under foreclosure about six months from its scheduled opening. Graves’s office pulled out of the project and the building sat vacant for four years until CFLB Group purchased it with plans to develop it into a Conrad, Hilton's luxury brand. Many groups have had a hand in the shaping and repositioning of this building, overlaying their own political agendas and recasting narratives that freshen up the experience for today’s evolving luxury market. Prior to reselling the property, the bank repainted Graves’ contextual pastel sky blue and sandy beach tan scheme a stark modern white, presumably to make the building more marketable to luxury condo buyers. After acquiring the building, Conrad spent the next two years completely reimagining Graves’ interiors. The project is now in its third interior design scheme and is finally nearing completion. Conrad’s revamped interiors pair Graves’ nautical inspiration for the exterior with thematic yacht-like detailing through custom material selections and furnishings like teak wood paneling, leather trim, and furnishings such as modified marine table lifts re-contextualized into dining room tables. Today, as the Ocean Resort Residences are set to open to the public, we are reminded of Graves’s associations with Le Corbusier and the New York Five. Whether intentional or not, the Ocean has brought Michael Graves’s career full circle. We owe this to the unlikeliest of sources: the foreclosure bank that left its mark on the building by painting it white. Michael Graves’s career began with his participation in the New York Five, a group of architects nicknamed “The Whites” by the press primarily because their work resembled more neutral white abstract forms. The projects of the Whites were a series of built houses which borrowed largely from early Corbusian-inspired form. Despite the nickname, the Whites held a very strong interest in the use of color in the work of Michael Graves and John Hejduk. In fact, Graves had claimed in interviews that his early houses were intended to be colored but that his clients rejected such schemes in favor of all white exteriors. Graves’s career evolved beyond the New York Five era, adopting an architectural language aligned with a commercial populism: design for the masses centered around colorful and legible, yet abstracted, classical forms. The story here is ultimately not about Graves’ contribution to the architectural scene along the A1A, nor the fact that this building is one of the last that he ever designed. Rather, it is about a disciplinary question of legacy, authorship, and narrative. Would it be correct to call the 2015 posthumous Conrad version of this building a Michael Graves project, or should we avert our eyes, referring instead only to sketches and a few marketing photos of the incomplete Trump version which no longer exists? Graves’s contribution here is not a tangible building, but rather a narrative about contextualism. In the end, what we are left with is a sail-like gridded white facade, and a thematized luxurious interior loaded with a fresh new amenities package that perhaps even Le Corbusier would enjoy.
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Critic Alastair Gordon diagnoses Miami with a case of “facade-ism”
Miami is a place of sunshine and gloss, bronzed bodies and signature cocktails. But for architecture critic and author Alastair Gordon, the underlying dynamics—including the harsh realities of income inequality and rising sea levels—are what make the city truly interesting. These dynamics are further obscured by the recent construction boom. "There are these crazy investments from overseas," said Gordon. "A lot is coming from South America, but also Europe, China, and Russia. That's fascinating, but it's completely in denial of what else is happening in Miami." Architecture can play a role in bridging the gap between the real and the ideal, said Gordon, pointing to Herzog & de Meuron's Pérez Art Museum Miami (PAMM) as a prime example. Gordon will be on site at the museum on Friday, September 11, leading a tour of the Faena District, Miami Beach, and the Design District on the second day of the Facades+ Miami conference. "PAMM is great architecture and a great museum, but it's also a great piece of urbanism," said Gordon. "It shows you what the rest of the city could be" through its relationship to a proposed bike bath and water taxi system. "It suggests a whole new paradigm not just for how a museum operates, but for the city," concluded Gordon. On Thursday, September 10, Gordon will moderate a panel discussion on "Miami: Buoyant City" as part of the Facades+ Miami symposium. Panelists include Zaha Hadid Architects' Chris Lépine, Ximena Caminos of the Faena Group, and Glavovic Studio's Margi Nothard. The three speakers each represent a different approach to facades, said Gordon. Zaha Hadid's 1000 Museum is more about "the building as pure facade, very high end," he said. "That building, more than any of them, is really state of the art in terms of structural integrity." Then there's the Faena District, which Gordon characterized as a "compromise, trying to do architecture with community involvement." Caminos, he explained "is the brains behind the cultural immersion they do. It's not just fancy architects parachuting into Miami. They really live here, they're extremely involved in community affairs." As for Nothard, Gordon says he is "a fan" of her work. "She has done extraordinary things with building affordable housing and senior housing on a level you can't believe." Gordon finds the topic of facades especially fitting for Miami. "It's always been a city of facade-ism," he said. "It's so much about appearance; people don't want to know what's going on behind the facade." But as the work of his co-panelists demonstrates, Miami's reputation for superficiality may be on the brink of a transformation, said Gordon. "In that way the city's changing in a really good way." To hear more from Gordon and his co-panelists, and to sign up for an exclusive field trip to the Faena District, Miami Beach, and the Design District, visit the Facades+ Miami website.